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The purpose of the work. The study focuses on television advertising as a special form of audio-visual products. The author studies audio-visual promotional videos, their classification and the specificity of their creation process. The methodology of research consists in using methods of observation, analysis and theoretical generalization of the data on the practical activity in the field of audio-visual art. In particular, television is one of the renderers of commercials and the most effective methods of address to a consumer. Through a combination of sound and image with directional effect on the viewer, the television provides great opportunities to influence a consumer effectively in a short period of time during the viewing of various television programs. Scientific novelty. The research has studied Ukrainian advertising audio-visual works as cultural product of modern Ukraine. It has analysed the art of creating of audio-visual commercials and has revised the variety of audio-visual advertising pieces. Conclusions. Modern economy and society cannot exist without advertising. Video advertising was not considered the subject of scientific studies until recently, because they did not see any signs of a cultural product in it. The video is a new kind of artistic audio-visual production – an audio-visual mini-masterpiece, a short film, which briefly and clearly transmits the main point of advertising message. The author proves that the process of advertising development is turning into an art form, and promotional videos – into little masterpieces of audio-visual art.

On the basis of the methodology of the traditionalist school the author analyzes the religious component of Sakhalin mentality. The confessions, composing the spiritual field of Sakhalin region, for convenience can be divided into traditional, traditionally-oriented and innovatory (in their turn they can be divided into modernist and post-modernist). The traditional confessions realize mental penetration into the living environment. The modernist ones, on the other hand, have a propensity to escaping from this penetration; the post-modernist confessions move to the virtual space rich in an illusory semiotic content substituting the ontological analogs. The Sakhalin religious organizations are approximately divided into these categories. On the base of this classification, generalizing his own experience of theoretical and practical studies, the author builds a specific vision of Sakhalin mentality and concludes about the spiritual condition and the possibilities of the future development of Sakhalin.

The book studies the Ancient Egyptian religion. The author describes the creation and its driving forces through the view of Egyptian concepts. The idea of God and the divine manifestations, the place of man in the world and the ways to achieve immortality are explored. The exposition is based on the study of ancient hieroglyphic texts and is illustrated with numerous examples. The book is intended for a wide range of readers who are interested in the religion and culture of Ancient Egypt. It contains three chapters: the world of gods, the creation of the world and the world of men. Special attention is paid on the concept of the kingship in Ancient Egypt. The Egyptian terminology and the names of gods and goddesses are formed as a dictionary at the еnd of the book.

The purpose of the work. The research is related to cultural understanding of variability of light and darkness mythologema modification in the light of solar symbolism of the Christian spiritual tradition. Research methodology is to use axiological (to identify the value component of light and darkness and the semantic range of their transformations), semiotic (to characterize light and darkness as carriers and broadcasters of cultural codes) methods and hermeneutical analysis (to interpret space of myth as a special cultural practice). The scientific novelty of the work consists in the study and analysis of axiosphere of hagiographical literature of the Orthodoxy and determination of its culture forming mechanisms. This study allows examining light and darkness in the context of the value system of the myth which should be considered as a separate type of cultural memory. Conclusions. Understanding the mythologema of light and darkness in the profile of solar symbolism enables separation of formative arteries of numinous continuum of the Christendom. Engaging cultural tools allows to distinguish light and darkness as mythopoetic constructs in shaping the dogmatic foundations of the Christian culture. In the light of hagiographic narrative they serve as evaluating metaphors the axiological potentiality of which form the ethical and humanistic orbit of hagiographical literature.

Purpose of Article. The goal of the article is to study the genres of post-folklore, presented communicative practices on the Internet. Methodology. The methodology of the study is to apply analytical, cultural and semantic methods in the researching of genre variety of the postfolklor, mediated network online. Scientific novelty. Scientific novelty of the work means the classification of the post-folklore genres, represented in the Internet space, basing on the characteristics of the semiotic systems of the texts. Conclusions. It is found out that the basic characteristics of genres of the post-folklore, mediated Internet communication practices, are the non-linearity, hyper-textuality and multicomponent. In addition to verbal genres, known in traditional folklore, the other genres have particularly achieved the development of with superior visual components, which form the complicated creolized semiotic texts. The post-folklore works, which are formed by the communicative process and information sharing, have a predominantly entertainment and play direction (memes, demotivates, photo-gags, cartoons, comics, hyphae art) and reflect the current events and social phenomena, concerned network users.

The article is devoted to the use of the «Motherland Calls!» and the Statue of Liberty monuments in the anti-Americanism discourse. It explains how such opposition impacts the status of Volgograd Motherland in the Russian cultural space. Modern Russian anti-Americanism discourse ascribes to the Statue of Liberty those traits that constitute the negative stereotype of an American; among them the lack of spirituality, aggressiveness, falsehood, arrogance and claims to the exceptionalism of America. The author concludes that such opposition contributes to the maintenance of the status of the Volgograd «Motherland» as the embodiment of Russia; the Statue of Liberty fulfills the vis-a-vis function of the Volgograd monument, while the rivalry between Russia and the United States is allegorically embodied in the opposition of the Motherland vs. The Statue of Liberty.

Kraus offers an alternative to the classical concept of beauty in terms of form and order, by building conceptual binary oppositions, borrowing Batаille’s concept of the formless and alternation- distortion as a counterpoint and cancellation of the hierarchic order in which beauty, as a value and ideal, is the highest. And while Krauss likens classical aesthetics and culture to Freudian sublimation and the vertical projection of the beautiful, she sees non-classical aesthetics and culture, focused around the formless, as a de-sublimation and leveling of the cultural and aesthetic image.

The article is devoted to the scene from the number of vignettes-illustrations of the Book of the Dead in the last phase of its existence, the Ptolemaic Period. Some interesting features of the scene were distinguished, according to the previously made compositional and typological analysis. These features are linked with dispositions of the four gods, the Children of Horus, in the composition of the scene. The most general disposition of gods between each other was determined, what gave an opportunity to interpret this feature. Semantic interpretation was made according to the spatial and anthropogenic conceptions of ancient Egyptians, who connected the Children of Horus with cardinal points and with the limbs of a person.

The monument “The Motherland calls!” as a visual image has become popular not only in static forms of information transmitting (postcards, stamps, photos, books, albums, etc.), but also in dynamic forms, such as films. The article studies documentary films as practices of using the monument “The Motherland calls!”, erected in 1967 in Volgograd, and analyzes the variants of using the symbolic potential of the monument in these cinema sources. The author concludes that the meta-discourse of the monument includes the set of various patterns of speech — communicational events, such as the discourses of peacefulness, memory, border, locus.

The purpose of the work is cultural understanding of the axiological symbolic polyphony of light and darkness embodiments within the scope of prayer texts of the Christian spiritual tradition. The research methodology is the use of axiological, semiotic, hermeneutic, phenomenological and theological methods. The above methodological tools allow us to identify the role of light and darkness in the process of identity personalization by observing prayer practices; to emphasize the sense-forming and socio-coordinating power of light and darkness of axioconstructs and their impact on the ontological orientation of an individual, and to outline the main intersection and synthesis lines of religion and culture.. The scientific novelty of the work lies in distinguishing anthropological paradigm core in the process of spiritual development of an individual through prayer experience and the impact of axioreproduction of sense bearing and symbolic superstructures of light and darkness on it. The analysis of religious texts through the example of a prayer allows us to identify the role of light and darkness symbolism in development of Christian culture regulatory mechanism. Conclusions. Light and darkness in terms of numinous dimension of prayer texts serve as translators of cultural codes in the mechanism of sacred work of the Christian doctrine. In the acts of transcending they are axioregulators and axiocorrelators, having a direct impact on the process of individual personalization as one of the cultural universals. Symbolic, axiological and mythopoetic potency of light and darkness provide ethical coloring to prayer practices and therefore, to the metaphysics of transcending in general.

The actuality of this paper is stipulated by the necessity to study a novel "The Gambler"by F.M. Dostoevsky in the new cultural stage, by the structural and semiotic and conceptual semantic methods, because it has not been done until presently. Also actuality is stipulated by the necessity to investigate the cultural and philosophical nature of roulette in the artistic and social consciousness of the 19th century. The purpose of the article is 1) to identify the semiotic oppositions which were descriptions of a roulette and gambling in the novel as a form of traveling to"another world" and obtaining a "mystic experience"; 2) to research a locus of "the game" and chronotope of Ruletenburg as "escapism." The conclusions are that the multifunctionality of the semantics of the roulette game and its complex cultural semiosis rooted in prognostic and modeling systems of antiquity; it was concluded that the opposition of the "world of Russia" and"world of Europe" were constructed as the contrast between "home-homelessness", "family without family", “trip wandering", "freedom-dependence, "travel-fornicate ", etc.

Role of light and darkness as axiological constants from the ethical part of the New Testament was considered in the Article. Special aspects of light/darkness presentation as instruments of sacralization and active social and cultural regulators and correlators of numinous space were highlighted. Semantic spectrum of light and darkness image, binary of these terms and variability of their transformations were indicated. Functions of light and darkness as elements of sacral anthropology in religious reflection being special cultural practice were considered.Rationale involves understanding through cultural and philosophical exegesis of religious art mechanisms, among which axiological constants have acquired special meaning – light and darkness as specific modulants of the Christian culture meaning. Determination of the light and darkness role in sacral mechanism of cultural and Christian art organically combining with mythopoetics shall integrate basic definitions of the Christian religious doctrine to the entire belief system of the society. The Bible includes extensive system of cultural, axiological, symbolic and iconic, metaphoric elements wherein light/darkness are the instruments of sacralization and legitimation of the model of social and Christian regulation.Purpose of the Article is to understand axiological capacity of light and darkness as demonstrators of ethical values in the New Testament. Thereunder, the following tasks were assigned: firstly, to determine dialectics of light and darkness coexistence and special aspects of their presentation as axiological constructors and axiological demonstrators from the ethical part of the New Testament; secondly, to analyze semantic meaning of light and darkness in texts of the New Testament; thirdly, to determine morphologic function of light and darkness semantics and their role in numinous space creation and change.Light and darkness in the Biblical ontological dimension are hierophany "communication" elements moving a human closer to/away from God whereby violate demarcation between sacral and secular space. Creation of social and cultural religious space is legitimized by light as an active regulator of secular/sacral communication portal. Axiological code of light is based on mythopoetic, iconic and symbolic, ontological and transcendental elements for demonstration of non-material nature of the God. Light is an imperative with the help of which involvement in the numinous dimension is established. Such involvement is expressed in grace offering to the God’s light and is symbolic and presentation basis for axiological and cultural polycode of the Christianity predicates: firstly, modeling human’s behavior by translation of sacral intentions – ethical and Christian regulators; secondly, light sacral support – axiological attributes of numinous space where a man of God is located; thirdly, a human as a cofounder of cultural and religious space of the Christian light; fourthly, light as a semantic construct of axiological, symbolic and iconic, epithet and metaphoric and mythopoetic dimensions of the Christianity.Using a symbol of light for determination of the God’s nature extrapolates poetics of symbolism into theological field. Representatives of sacral sanctions, God’s presence – axiological "derivatives" of light: luminary (in the Bible – the God’s word, the God’s law); in hagiographical literature and Bible – luminary of the Church, saints; Gospel; angels; guardian angels, etc. Ontological modes of light and darkness are also axiological actions – active and/or passive. Light is always active: in fighting against infernal powers, in the Christianity truth enlargement, God’s men rescue and support. Darkness, in exchange, is passive, it represents absence of light. Correlation of the darkness qualitative characteristics – from essence expression in light antipode to fighting against it, bringing to sacral sanctions and punishment of innocents, demonstrates its activity.Therefore, the research of light and darkness axiological constructors as demonstrators of the New Testament ethical values, rethinking thereof in the cultural dimension allows determining their influence on creation of particularities of numinous continuum of the Christian world. Light and darkness are axiological representatives of sacral opposition to bipolar world order, active semantic and morphologic joining elements between sacral and secular space. Performing regulation function of God – human, human – God communication channel, light and darkness introduce topos – sacral involvement and axiological action, to cultural and religious reflection. Light and darkness as factors of social regulation – metaphoric, mythopoetic elements of sacral anthropology, correlators of ethical and humanistic units, modulators and transformers of ontological field, specific "axiological templates" of the Christian ascetic culture, orient coordinate of the religious genesis – participation with the Christ. Value forming potential of light and darkness is a guarantee of polycode of semantic and multiple modification of the spiritual – hierophany.

Purpose of Research. The purpose of the work is to obtain cultural knowledge about the light and the darkness as keys of transcendence within the scope of “Being in Collapse” by K. Jaspers. Methodology. The methodology of the study includes the applying of axiological, semiotic, hermeneutic, phenomenological and theological methods. Methodological instruments of cultural studies allow us to reveal metaphorical, myth and poetic potencies of the light and the darkness in the anthropological discourse of the Orthodoxy in semantic, transcendental parallels with the “Being in Collapse” by K. Jaspers. Scientific Novelty. The scientific novelty consists in determining the role of the light and the darkness as the sense modelling and seminal elements of the sacral field of asceticism which, appealing to the ideological web of the keys, outline variability in perception and realization of transcendental reality by an individual. The interpretation of symbolism of the light and the darkness in relation to existential “being in the collapse” opens the prospect of expanding and deepening analytical possibilities of cultural studies in philosophical anthropological discourse. Conclusions. The comparison of semantic meaning of the light and the darkness with “Being in Collapse” by K. Jaspers allowed to identify the ways of forming a special type of transcendent personality. The study of semantic formants of the light and the darkness in the ontology of transcendence through the lens of realities of ascetic deeds allow us to reveal the features of formation not only of the ascetic consciousness but also of the Christian religious culture as a whole.

Purpose of Article is to obtain cultural knowledge about the light and the darkness as keys of transcendence within the scope of “Being in Collapse” by K. Jaspers. Methodology. The methodology of the study includes applying axiological, semiotic, hermeneutic, phenomenological and theological methods. Methodological instruments of cultural studies allow revealing metaphorical, myth and poetic potencies of the light and the darkness in the anthropological discourse of the Orthodoxy in semantic, transcendental parallels with the “Being in Collapse” by K. Jaspers. Scientific Novelty consists in determining the role of the light and the darkness as the sense modeling and seminal elements of the sacral field of asceticism which, appealing to the ideological web of the keys, outline variability in perception and realization of transcendental reality by an individual. Interpretation of symbolism of the light and the darkness in relation to existential “being in the collapse” opens the prospect of expanding and deepening analytical possibilities of cultural studies in philosophical and anthropological discourse. Conclusions. Comparison of the semantic meaning of the light and the darkness with “Being in Collapse” by K. Jaspers allowed to identify the ways of forming a special type of transcendent personality. Study of semantic formants of the light and the darkness in the ontology of transcendence through the lens of realities of ascetic deeds allow us to reveal the features of formation not only of the ascetic consciousness but also of the Christian religious culture as a whole.

Hermeneutical interpretation of space and time of the Ukrainian folk art culture leads to the lowest layers of the semantic body culture, to its spiritual roots "tree" – genetic codes and archetypes. Analysis of the fundamental structures determines the nature and historically axiosphere labile forms of social consciousness in a given chronotope. In apparent spatio-temporal parameters, these structures, that are firstly priori empty forms acquire orientation system factors giving concrete historical content and transform into symbolic incarnation.In Ukrainian folklore, and chronotope of various forms of folklore, considered the following archetypal shapes: Hero / Leader, Shadow / Trickster, Anima / Animus, Sofia / Mother Earth, the archetype of the elements (water, fire, and air), prototypes of solar and lunar deities, Alien. All of them are not isolated entities, but form a complex narrative syncretic (syzygy) oppositions and mediation by connotations that develop into long semantic series. These rows form a discourse circulation of cultural forms and form a kind of mental sheath – semantic field of Ukrainian culture, which is the basis for the compilation of artistic metaphor.Analysis of archetypal foundations chronotope of Ukrainian folk art culture needs to get rid of ethnocentric stereotypes associated with tendency of dominant symbolic figures in ethno culture to itself sacralization. A critical approach to deep the levers of national identity, including in the world of art, helps in establishment intercultural relations through dialogue and tolerance.

The article offers observations on the semiotic projections of home in Sergey Gerasimov’s film Journalist (1967). The paper studies the models of socialist realism canon, the poetics of Khrushchev's Thaw, the mythopoetic tradition, and the author’s original approach in constructing the topos of home. The author outlines the connection of cinematic narrative with the sociocultural processes of the 1960s in the Soviet and pan-European context.

The article analyzes the semiotisation of international discourse. It is discovered that the current stage of international relations semiotisation is associated with the changing role of gender signs in symbolic politics. The interdiscourse nature of the symbolic identity policy is shown. The system of gender marks is analyzed. Gender is considered as a semiotic category determined by the existence of gender stereotypes and their role in social reality. The main trends of the international relations semiotic analysis and the gender cinematic analysis are revealed. The cinema is presented as one of the gender technologies forming a realistic idea of the behavioral models and practices set by the gender hierarchy. The definition of gender semiotics is proposed, its potential is shown in the analysis of specific cinematic case of the Cold War period.

In the articles the semiologic paradigm of culturelogical analysis are determined. The retrospective view of semiologic directions and schools is given in the culture of XX century. Appearance and sign is in the spaciou’s culture characterized as interdependent realities of culture.

The article considers the structural aesthetics of Y. Mukarjovsky as an introduction to the theory of visual tropos. The author analyzes the teachings of Mukarjovsky about the work as an artistic sign in the aspect of the study of ways of generating indirect meanings in the visual arts. It is made the explication of conceptual tools that can serve the study of semantic shifts in art. The author identifies the methodological potential of the concepts of "function" and "aesthetic norm" as an analysis tools for figurative formations. The article shows the duality ways of metaphorization in the art in accordance with the antinomical structure of the work as an autonomous aesthetic sign and communicative sign. It is noted the importance of the concept of "poetic language" in the understanding of the polysemy of figurative phenomena in the visual arts. The ways of semantization of "formal" elements of the work and their role in the processes of formation of indirect meanings are accented in the article.

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